 
 |  | When Zola wrote ‘J’accuse!’JEFF JACOBY[3/30/2008] | | | It is the most famous front page in the
history of journalism. Its one-word
headline - “J’accuse!” - is if anything
even more renowned. On Jan. 13, 1898,
the French newspaper L’Aurore published
Emile Zola’s extraordinary
4,000-word open letter on the Dreyfus
Affair, a travesty of justice in which an
innocent captain in the French army,
Alfred Dreyfus, had been convicted
of treason and sentenced to solitary
confinement for life on Devil's Island,
a hellish penal colony off the coast of
South America. | | | Boston Globe |
| In 'Darkness,' dance groups collaborate
to explore theme of Armenian genocideJanine Parker[3/21/2008] | | | MEDFORD - In a bright rehearsal
studio, a group of young dancers ends a
rather dark scene: The characters are trying
to escape unseen forces, and those that
have "died" are gestured over, touched,
and cradled in the others' arms. The room
grows quiet; several older women looking
on are moved by what they see. Soon the
girls will be giggling and doing their
homework on the sidelines - but for one
moment, real time has stopped while this
beautiful dream of a nightmare unfolds. | | | Boston Globe |
| Settling Dreyfus’s affairs at BUJ’accuse Redux[3/14/2008] | | | It all started in October 1894, when an anonymous handwritten
letter offering secret French military information was
found in the wastebasket of a German military attaché. Viewed
as an act of treason, the letter sparked a massive witch-hunt
within the French army. Alfred Dreyfus, a Jewish captain in
the army’s general staff and a loyal patriot, was ultimately
accused of authoring the bordereau. | | | The Boston Phoenix |
| Liz Lerman Dance Exchange
and Sayat Nova Dance CompanyOut of Darkness[3/1/2008] | | | One of the dance world's foremost humanists, Liz Lerman
remains serious about providing a forum for all sorts of
people to disseminate their personal stories. The consequent,
wide-ranging narratives associated with her choreography
extend from joyful to gloomy, mysterious to concrete, and
sometimes they even supersede the theatrical outcome of
the resulting dances. | | | ExploreDance.com |
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